French-horn mute



FRENCH HORN MUTE Filed Nov. 3, 1927 7 Carl A .Schumann Patented Nov. 26, 1929 Parana" CARL A. SCHUMANN, OF OSTERBURG, PENNSYLVANIA FRENCH-HORN MUTE Application filed November This invention relates to an improved mute for use in association with a French horn.

At the present time, there are two prominent ways of muting horns of this class.

Usually, it is done by placing the hand in the bell ofthe instrument. It is not uncommon, however, to use the removable plugtype mute. Both of these methods are accompanied by detriment such as adds noticeably to the difficulties of execution of a high- 1y complex instrument.

- lVhile both of these methods are used universally and with reasonable success, it is thought that they detract from the skill of the performer, particularly when the performer is required to alternate rapidly from whole tones to muted tones.

In addition, it is tryingat times to be com pelled to rely upon these uncertain and nonresponsive methods.

Furthermore, when the performer uses the so-called hand method of muting, the moment the hand is inserted into the bell, the pitch of the tone is lowered, anywhere from a tone to a half tone. Thus, if the horn is originally in F, it is momentarily converted to E flat. This makes it encumbent upon the player to counteract this rapidly by transposing the muted tone a, full tone higher. Not only is it impossible to mute tones below the staff with this method, butit requires false reading, thus creating uncertainties and making an already difiicult instrument even more difficult.

Having in mind these objections, I have evolved and produced a mute in. the form of an attachment constructed to permit it to be embodied in the tubing in such a way that the sound Waves can be collectively shunted through the mute to provide a desirable muted tone, or can be allowed to pass on- Serial No. 230,780.

mute leaves the right hand free to aid in supporting the instrument, and aid in producing a tremolo tone when the latter is desired.

In making the invention, I also had in mind the utilization of a mute which is characterized by elongated tapered tubing, having a length and cross sectional proportions to produce the desired mufl'led quality of tone, with the assurance that the mufiled tone is included.

It follows also, that thus it is an advantage and a feature of the invention to em. body as a part of the mute a slide which is manually adjustable for tuning the mute itself, an entirely new feature in a mute construction it is believed.

Also, in accordance with the invention, the mute has been so made, that it is capable of detachable connection with an extra valve or capable of attachment to an offset auxiliary existing valve thus making it possible to embody the mute in an already marketed horn without requiring any unusual alteration in the existing valve arrangement.

It is an equally important object to so cor struct the mute and to so shape it as to permit it to be nested nicely vitnin the outer convolute of the main horn for purposes of appearance well as for utilitarian purposes quite evident from this arrangement.

In the drawings Figure 1 represents what may be regarded either as a top plan View or as a side elevation of one side of the ordinary French horn r equipped with the mute attachment.

Fig. 2 is a perspective view of a different embodiment of mute, such as is especially constructed for use in connection with a single B flat horn.

Considering the invention in detail, attention is first invited to Fig. 1, wherein it will be observed'that I have illustrated what is known as a double type French horn, that is, one which is constructed to permit the performer to play either in the key of F, or in B flat as desired. At this point, I would state that it has been necessary to bear in mind in tl e construction of this mute, that tlese French horns are sometimes of this 190 dual-two-key type, and they are sometimes of the single key type.

The single type horn is usually a B fiat horn. In F ig. 1, the portion of the ordinary French horn is shown in light lines, the horn being generally referred to by the reference character 8. The mute on the other hand is shown in heavier lines, so that it is easy to observe the distinction between the mute and the horn itself. 7 t

Since starting at the inner end of the horn, it will be seen that the reference character 4 designates the customary mouthpiece at tached to the mouth pipe 5 in turn connected to the smallest end of the tubing at the point 6. Here the tubing is coiled into the shape shown, and connects with a valve at 7. This valve has an operating lever 8 and the purpose of the valve is to convert the horn from B fiat into F.

Located in a line with this key changing valve 7 are the first valves 9, the second valves 10, and the third valves 11. I might state at this point, that these horns are made with three valves, somev with four, and in rare instances some have five. In accordance with my invention however, there will be anvadditional valve which is designated by the reference character 12. The branches 13 and 14 being shown in heavy lines, and the valve 12 has a control lever in the form of a finger piece 15, while the other three valves 9, 10 and 11 have their individual finger pieces or operating members 16. In this connection, it will be noticed that the mute valve 12 has its finger piece located in proximity to the ones 16, thus placing it in readiness and in a line with the little finger of the left hand. Thus, it is not awkward to manipulatethis mute.

One section or portion of the mute is generally designated at 17. This is preferably fastened by a thumb screw at 18 to the tubing of the main horn. It includes a tuning slide 19 and a right angularly disposed branch 20 having a reduced shouldered end portion which telescopes into the branch 13 V of the valve 12. In this connection, I might state that the remaining branch 14, of this valve is closed by a plug or other appropriate means.v

In addition to the portion 17, the mute includes a relatively large tapered convolution starting at about the point 21 and continuing around through a segment of a circle within an area of a relatively larger convolution 22 of the main horn. This convolution 21 is somewhat in a plane with a portion 17. Hence both of these portions lie substantially flat against the tubing of the main horn. I

It will be noticed that the convolution of the mute is fastened to the convolution of the horn, by thumb screws at the three points 23. It might be stated that the convolution 21 of the mute is separably connected with the portion 17, thus making these two parts separable units to facilitate packing and aiding in placing the mute on the instrument.

Moreover, the discharge end of the mute convolutions extend beyond the parts 17 where it is tapered more abruptly as at 24. A closing cap 25 is provided for this discharge end, and the cap carries a centrally located and rather small pipe 26 which in turn carries a laterally disposed and relatively small bell, 27

In Fig. 2, I show a perspective view of a mute such as is used on a single B fiat French born, the same being generally designated at 28 and being of such construction that the portions are designated by the same reference characters employed representing the parts in Fig. 1.

The principle of operation in both forms of mute is of course the same. From the description and drawings, it is obvious that the mute, although being in the form of an attachment, can be applied and left permanently in place. Of course at the present time, the instrument cases which are now on the market would not accommodate the mute in place, for which reason, it has been necessary to make it in the form of an attachment, so that it can be taken olf after each performance, and either separately packed or carefully arranged in the casing.

In the future however, the cases may be made to accommodate the mute already in position, under which conditions it would be a sort of a permanent affair. I therefore do not desire to stress too much the attachment idea. The gist of the situation is the incorporation in the tubing of the main horn, a mute which is under the control of a manually manipulated valve, so that the tone waves can be caused to pass, at the will of the performer, either through the mute or through the main passage of the horn.

This permits the performer to produce at leisure full tones or muted tones. The presence of the mute however, does not interfere with the quality of the tones.

It is evident to persons familiar with instruments of this class that under normal conditions, the tone waves will of course pass on through the valve of the tubing and through the convolution or coil 22, and out through the customary large bell 29.

However, by opening the valve 12, after manipulating the finger piece 15, it is obvious that instead of the tone waves passing on through the convolutes 22 and out through the bell 29, they will beshunted thru the mute, passing on through the portions 17 and through the c0nvolutions 21, and out through the small bell 27. Incidentally, it is to be stated that the valve 12 is of a twoway type, the details of which need not be shown.

Thus, by the mere manipulation of the valve 12, the tone can be muflled or made full and round according to the scoring of the useful composition, or according to the discretion of the performer. Vith this arrangement, the mute has tone quality, and is more in the nature of an echo, but is distinguishable from the ordinary muted tone of a French horn, because of its discriminating quality. It can be appreciated that by employing the ordinary plug mute or using the hand, for muting, the abrupt stoppage of the sound wave column when it encounters the mute, produces an undesirable unit quality of tone. This may be because of the fact that the horn is proportioned only with the full tone results in view, and not proportioned to provide the desirable acoustic properties, when the mute is temporarily inserted.

It is admitted therefore, that by utilization of a mute which is incorporated in the sound wave passage of the horn at a point adjacent the valves and between the mouth piece of the bell and by providing the mute with tubing, this tubing may be properly proportioned, and of a length to begin the muting effect after it has passed through the valve and to discharge it thru a properly proportioned convolution, having a suitable discharge bell.

Bearing in mind the latter features and those enumerated at the outset of the descrip tion, it is believed a clear comprehension of the invention will be had, for which reason a more lengthy description is regarded unnecessary.

Having thus described my invention, what I claim as new is 1. In a musical instrument of the class described, in combination, a horn embodying tubing constructed to provide a sound wave passage, said tubing terminating at its outer end in a bell from which the tones emanate, a mouthpiece at the inner end of the tubing, a mute connected with the tubing at a point between the mouthpiece and the bell, together with manual control means associated with the tubing and the mute, in order to permit the sound waves to be selectively passed entirely through the tubing and out through the bell or entirely through the mute.

2. In a French horn, tubing 0t customary design and form providing a passage for sound waves, said tubing embodying a convolution terminating at its outer end in a bell, valves incorporated in the tubing and constructed for making the tones in a customary manner, an auxiliary mute valve also incorporated in the tubing and arranged in close proximity to the ordinary valves, and a mute connected with said auxiliary valve Where by to permit the sound ways to pass through the tubing of the French horn and out through the bell, as is usual, or to permit them to be shunted through the mute.

3. In a French horn, tubing of customary design and form providing a passage for sound waves, said tubing embodying a convolution terminating at its outer end in a bell, valves incorporated in the tubing and constructed for making the tones in a customary manner, an auxiliary mute valve also incorporated in the tubing and arranged in close proximity to said first named valves, and a mute connected with said auxiliary valve whereby to permit the sound waves to pass through the tubing of the French horn, and out through the bell as is usual, or to permit them to be shunted through the mute, said mute embodying a length of tubing having a convolution disposed within said confines ot the convolution of the French horn.

In a French horn, tapered tubing bent into customary form, the tubing terminating in the usual circular convolution and flare-d bell, a series of valves arranged in a row and incorporated in said tubing for regulating the passage of air through the tubing, an auxiliary mute valve incorporated in the tube, said valve being of the two-way type, to permit the air to pass normally through said tubing unailected, control means for the mute valve, a mute including tubing connected with said mute valve, and a relatively small discharge bell located in proximity to the first-named bell.

5. In a French horn, tapered tubing bent into customary form, the tubing terminating in the usual circular convolution and flared bell, a series of valves arranged in a row and incorporated in said tubing for regulating the passage of air through the tubing, an auxiliar mute valve incorporated in the tubing, saicl valve being of the twoway type to permit the air to pass normally through said tubing unaffected, control means for the mute valve, a mute including tubing connected with said auxiliary mute valve, and a relatively small discharge bell located in proximity to the first-named bell, said mute also including a tuning slide.

6. In a French horn, tapered tubing bent into customary form, the tubing terminating in the usual circular convolution and flared bell, a series of valves arranged in a row and incorporated in said tubing for regulating the passage of air through the tubing, an auxiliary mute valve incorporated in the tube, said valve being of the two-way type, to permit the air to pass normally through said tubing unaffected, control means for the mute valve, a mute including tubing connected with said valve, and a relatively small discharge bell located in proximity to the first-named bell, said mute also including a tuning slide, and means separably mounting said mute upon the tubing of the horn proper, to permit the mute to be entirely detached.

In testimony whereof I aflix my signature.

CARL A. SCHUMANN. 

